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Identity, community, the precariousness of life and the ties that connect us to place are all themes in this issue of NGV Magazine, as we continue to profile the NGV Triennial with newly commissioned essays by authors Dr Jessica McLean and the NGV’s Susan van Wyk, and artist interviews and profiles including author and designer Maria Cristina Didero in conversation with design studio Carnovsky. We also introduce a new exhibition, She-oak and Sunlight: Australian Impressionism, with insights including a feature essay by guest curator Dr Anne Gray.
‘JR situates people in countries that nourish them: framing individuals in ways that capture connections with, and reflections on, the Murray-Darling Basin, suggesting multiple ways of knowing and ways of being in those places.’
By Dr Jessica McLeanARTIST SPOTLIGHT Dhambit Munuŋggurr: Can we all have a happy life?
‘Great master painters have long pushed the boundaries of both customary and contemporary art and Yolngu art is similarly driven by both tradition and innovation.’
By Myles Russell-CookDEEP READ Mirror image: contemporary portraiture, image and identity
‘These photographers – Aïda Muluneh, Ayana V. Jackson, Phumzile Khanyile, Lakin Ogunbanwo, Kim Sihyun and Girma Berta, have created contemporary portraits and self-portraits that question ideals of beauty, sexuality and identity; performative photographs that speak to history and photography; and images that merge street photography and portraiture to construct social portraits that are about the collective rather than the individual.’
By Susan van WykDECORATIVE ARTS The ceramics of Pablo Picasso: playing with the fourth dimension
‘One of Picasso’s favourite subjects was the goat which featured on several of his ceramic works…The goat may have had ancient mythological associations for Picasso but it may also have attracted him, like the bull, for its daring boldness and independence of character.’
By Amanda DunsmoreEXHIBITION She-oak & Sunlight: Australian Impressionism
‘These works of the Australian Impressionists show their influence upon each other, and also their debt to international art.’
By Anne GrayINTERVIEW Carnovsky
‘More specifically, we have based our artwork on the categories and criteria of the International Union of Conservation of Nature’s (IUCN) ‘Red List’. They have defined seven different categories to classify a species’ level of endangerment, starting from extinct to those of least concern.’
Interviewed by Maria Cristina Didero